David Sylvian (born David Alan Batt, February 23 1958, in Beckenham, Kent, … Read Full Bio ↴David Sylvian (born David Alan Batt, February 23 1958, in Beckenham, Kent, UK) is an English singer, musician and composer who first rose to fame as the lead vocalist and main songwriter of the band Japan, and whose subsequent solo career has been influenced by a variety of musical styles and genres, including jazz, ambient music and electronic music.

Japan, which also included Mick Karn, Rob Dean, Richard Barbieri and Sylvian's brother Steve Jansen, started out as a confusing hybrid rock/sleaze outfit in the mould of David Bowie and The New York Dolls. Their music quickly evolved as, at least to begin with, they drew heavily on the influence of Roxy Music's art rock stylings. Their visual image developed in parallel and the band were (unwillingly) tagged as forerunners of the New Romantic movement.

Japan recorded five studio albums between March 1978 and November 1981. Their biggest hit single, the minimalist Ghosts, which reached the Top 5 in the UK charts in 1982, was a clear pointer to Sylvian's future direction. After a successful tour, the band split in late 1982, and Sylvian embarked upon a solo career.

Around the time of Sylvian's first solo album he collaborated with 坂本龍一 (Ryuichi Sakamoto) on the soundtrack music for the Nagisa Oshima film Merry Christmas, Mr. Lawrence (1983), which produced a Top 20 hit single, Forbidden Colours.

Sylvian's debut solo album, the jazz and ambient-influenced Brilliant Trees (1984), met with critical acclaim and yielded the single Red Guitar, another Top 20 hit. Guest artists included Jon Hassell and Holger Czukay. His follow-up was an instrumental EP Alchemy which cemented his drift away from commercial pop

The EP was in turn followed by the double album Gone to Earth (1986), which flouted convention (and perhaps commercial wisdom) by featuring one record of songs (predominantly atmospheric ballads) and one consisting almost entirely of ambient instrumental tracks. Guest artists included guitarists Robert Fripp and Bill Nelson.

His third album, Secrets of the Beehive (1987), was more acoustic and oriented towards somber, emotive ballads laced with string arrangements by 坂本龍一 (Ryuichi Sakamoto). It yielded one of Sylvian's most well-received songs, Orpheus, and was supported by his first solo tour, 1988's "In Praise of Shamans". Sylvian's touring band included ex-Japan bandmates Jansen and Barbieri along with trumpeter Mark Isham, bassist Ian Maidman and guitarists David Torn and Robbie Aceto.

Never one to conform to commercial expectations, Sylvian then collaborated on several ambient music projects with artists including Holger Czukay and Russell Mills.

In 1991, a highly-anticipated Japan reunion (excluding Rob Dean) ended in acrimony. Sylvian insisted on calling the project and the album Rain Tree Crow, to the dismay of both his label Virgin Records (who were hoping for a hit "comeback" album) and his former bandmates. Guitarists Bill Nelson, Phil Palmer and Michael Brook augmented the quartet for the recording of the album.

In late 1991, Robert Fripp approached Sylvian and asked him to be part of a new King Crimson. Sylvian declined and instead suggested they work on a future collaboration resulting in the release of The First Day.

A period of relative musical inactivity followed, during which time Sylvian moved to the United States. Eventually in 1999, Sylvian released Dead Bees on a Cake. It showed the most eclectic influence of all his recordings, ranging from soul music to jazz fusion to Eastern spiritual chants, and most of the songs' lyrics reflecting Sylvian's inner peace with his marriage (to the wonderful poet/singer Ingrid Chavez), family and beliefs. Guest artists included longtime friend 坂本龍一 (Ryuichi Sakamoto), as well as Talvin Singh, Marc Ribot, Kenny Wheeler and Bill Frisell.

Sylvian parted ways with Virgin and launched his own independent label, Samadhi Sound. Sylvian experimented alone with treated sounds made from his guitar and computer. The results were recorded during February of 2003. A few months later, he released the album Blemish. The disc was stark in its sound and content. The lyrical subject matter dealt primarily with the impending dissolution of Sylvian's marriage. In 2005 The Good Son vs The Only Daughter was released, which was comprised of remixes of tracks from Blemish.

With the conclusion of "A Fire In The Forest Tour" in 2004, work resumed on a joint project between Sylvian and Jansen. Yet the course of the album took on a completely new tone after Sylvian decided to add keyboardist/vibraphonist/programmer Burnt Friedman to the proceedings and make him an equal partner in the collaboration. The band name of Nine Horses was adopted and the CD, titled Snow Borne Sorrow, was released in October of 2005. The sound was a return to more traditional avenues for Sylvian after the radical departure he took with Blemish. Elements of avant-garde jazz, pop, folk and electronic music were all blended together

Nine Horses' Money For All EP was released in 2006, which included new material as well as Burnt Friedman remixes of songs selected from their first disc.

News on Sylvian's website was released in March stating that "We're preparing for the release of David’s new album Manafon. It’s a powerfully bold, uncompromising work featuring contributions from Evan Parker, John Tilbury, Keith Rowe, Christian Fennesz, Otomo Yoshihide, and many more."

David Sylvian's official website: www.davidsylvian.com

The Devil
David Sylvian Lyrics

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The night is dark and cold
The strong winds and the rain
Crack the branches upon my window
The devil beats his drum
Casting out his spell
Dragging all his own down into hell

The ticking of the clock

Inexorably goes on
The howling of the stray souls of heaven
The treasures of the cove
Where the traders stored their gold
Echo voices still dead to the world

Underneath the vine
Shaded by the leaves
I still hold you close to me
Beneath the open stars
Beneath the pillows and the sheets
I still hold you dear to me

The ticking of the clock
Surely sunrise won't be long
When darkness hides inside it's own shadow
The devil beats his drum

Casting out his name
Dragging all his own down into shame

Overall Meaning

David Sylvian's song The Devil's Own is a haunting and atmospheric piece of music that is filled with vivid and evocative imagery. The lyrics depict a dark and stormy night where the devil beats his drum and casts out his spell, dragging his own down into hell. The ticking of the clock serves as a reminder that time is marching on inexorably, while the howling of the stray souls of heaven and the treasures of the cove remind us of the ephemeral nature of our existence.

The verses of the song alternate between describing the stormy and ominous weather outside, with the sound of the devil's pounding drum, and the comfort and safety of being with a loved one indoors, lying beneath the pillows and the sheets. This juxtaposition serves to heighten the sense of danger and peril that is present in the world outside, while also emphasizing the importance of finding refuge and solace in human connection.

Overall, The Devil's Own is a powerful and poignant meditation on the fragility of life and the human need for safety, comfort, and love.

Line by Line Meaning

The night is dark and cold
The atmosphere is gloomy and unsettling

The strong winds and the rain
The elements are fierce and unrelenting

Crack the branches upon my window
The storm is causing physical damage to the surrounding area

The devil beats his drum
Evil forces are at work

Casting out his spell
The devil is putting people under his control

Dragging all his own down into hell
The devil is leading people towards spiritual damnation

The ticking of the clock
Time is passing by

Inexorably goes on
Without relent or pause

The howling of the stray souls of heaven
The spirits of the deceased are restless and distressed

The treasures of the cove
Valuable items from the shoreline